Even then, my enthusiasm for films this year suffered a major drought. A big cause of it is the sheer influx of bland-looking superhero films, franchise films, and Disney nonsense. It's increasingly hard to get excited for a tenth Fast and Furious film, a fourth Expendables, another Transformers, a fifth Indiana Jones, another Shazam!, another Ant-Man, whoever The Marvels are, whatever the heck Blue Beetle is, whatever The Flash is supposed to be, more Disney live-action remakes, among many other things I haven't even bothered checking out. A lot of these are still pending a watch, but I'm in no hurry to see most of them. So many of them are starting to run together as a bland mush of samey-same CGI spectacle and shoddy writing (especially regarding the comedy, so much of the quips, banter, one-liners are obnoxious and cringey these days). It's hard to muster any excitement for the usual blockbusters that take up the spotlight.
Fortunately, there are nuggets of good cinema to be found elsewhere, streaming or otherwise. Horror films are a solid standout thanks to films like Talk To Me, No One Will Save You, Renfield, and M3GAN. Heck, even Skinamarink is worth a look, even if I thought it was droll. There are good thrills to be had with films like Missing, The Killer, and Saltburn. Action junkies will find plenty to love out of the latest Mission Impossible and John Wick entries, but films like Sisu and Guy Ritchie's films are no slouches either. Nimona and Spider-Man: Across the Spider-Verse are really nice animated treats. But if anything dominated 2023, it was two polar opposite films that we will all remember fondly as the "Barbenheimer." Obviously, the back-to-back marathon of Barbie and Oppenheimer. Yes, a candy-coated feminist comedy followed immediately by a long, brooding biopic about the man who spearheaded the A-bomb. It's a winning combination!
For something really different though, arthouse never fails to disappoint. Some of the films that will stick with me the longest will be the beautiful landscapes of Godland, the bizarre life journey of Beau Is Afraid, and the quirky, humorous odyssey of a unique mind in Poor Things. Obviously, mileages of these films vary person-to-person. These and others might have resonated with me in specific ways, but they could just as easily bore other viewers.
Love them or hate them, there are some pretty fun experiences to be found in 2023 films. You might have to wade through some sludge to find them though. I still haven't made time for Transformers: Rise of the Beasts, Expend4bles, Fast X, Saw X, TMNT: Mutant Mayhem, The Marvels, Aquaman and the Lost Kingdom, Equalizer 3, Creed 3, Extraction 2, Wish, or Exorcist: Believer. Like I said, I'm not in any rush to see these.
However, at some point I will be interested in viewing Godzilla Minus One, The Boy and the Heron, Napoleon, and maybe Wonka. Despite missing out on these, I'm still pretty confident in posting my ranked list of films seen last year.
Didn't find this funny enough as a comedy, didn't find it scary enough as horror—stuck in that odd middle ground of mediocrity, I found this movie interesting only in concept and in small bursts. Few amusing observations (best highlighted in the movie's entire premise), but like many modern comedies it relies pretty heavily on a lot of asides that draw attention to certain things, but it didn't make me laugh that much. It could be I'm way too far outside the target audience, but then again, I keep thinking that Scary Movie achieved much bigger laughs with the similar goal of roasting horror movie tropes.
Liking this one might boil down to how much you like Wes Anderson and his films, which all follow the same formula of immersing audiences in quirky pastel-colored worlds populated by deadpan characters in outrageous situations. There are definitely charming moments scattered throughout Asteroid City, and the film overall is crafted with the same precision and charm that make all of Anderson's films standouts. Personally though, I thought this particular film was rather dry, stiff, and droll. There isn't a clear-cut plotline, and it comes across as a disjointed collection of scenes. At the very least, I would have loved this more if it had more snap and personality to it.
It is exactly what you expect from a movie with this title. Though based on a real-life case, the film adapts nothing really true about the original story, other than a bear once stumbled across some abandoned cocaine and consumed it. The film plays up the outrageous nature of the story, using it as the basis for an absurd over-the-top massacre. This ultimately calls for the film to build up a cast of random characters with narrative threads that tie together with the bear's rampage—it would be fun if the characters weren't as dippy as they are. Above all though, the film wants to play all of this off as a joke, but when the bear itself is the joke, every other attempt at humor comes off as lame. Despite the premise, the film didn't really elicit much laughter. And sure, the violence is pretty extreme, but it's played straight as pure shock value—some of these deaths just ticked me off, because these characters didn't really deserve such gruesome fates. There are Troma films that are grosser but also more hilarious than this, precisely because they turn the violence into jokes in themselves. Cocaine Bear is only interested in one joke, but it's a one-trick bear.
Look at all the cheeeeeeeese!
Nothing terribly innovative or fresh, this is a goofy, cheap, over-the-top grindhouse-style picture that offers bloody fights and exploitation as entertainment. It's layered with a lot of horrible cheese-related puns, because, you know, it's Switzerland. I rate this film as highly as I do because there is some snap to it, with enough comedy, action, and a clear Tarantino-inspired editing style that keeps the film rolling at a good pace. Above all though, despite the extreme violence, I do look up to the fundamental plotline as it showcases a young woman rising out of adversity and seeking vengeance against fascists. There is something empowering and awesome about it, even if it's been done before in other exploitation pictures.
Legend has it that Zack Snyder pitched a Star Wars project to LucasFilm, but was rejected. Unsurprisingly, Rebel Moon stemmed from this rejected premise, and it should be obvious given the smattering of space opera tropes that feel lifted from Star Wars. There's even an alien cantina scene by golly. There is a lot to gripe about—the film lacks subtlety, even going so far as showing the villains as literal space Nazis. Worldbuilding is scattershot and crazy. Production design is vivid, but there are a lot of head-scratching decisions. The story, which emphasizes one character gathering a team of heroes to protect a village, unironically echoes Battle Beyond the Stars, which in turn echoes The Magnificent Seven, which in turn echoed Seven Samurai, and you know this story's been done so many times it's ridiculous. But all that being said, I wasn't bored. There are some cool moments to behold, I love the sound design and music score, and I was sufficiently invested in the character and universe by the finale. I suspect things could come together into a grand epic with future installments. On its own, Part One feels like a second draft of somebody's sci-fi novel made into a film—a little rough in parts, but there are cool ideas to be found.
It's hard to clear a bar that's been set high 40 years ago. Even Spielberg and the gang couldn't quite match their own prowess when they brought Indy back for Kingdom of the Crystal Skull. Understandably, fans will probably dig the stronger gravitas of Dial of Destiny, but sadly, I see it as a more dour experience.
To be fair, the film is fine moment-by-moment. It feels like a proper adventure picture. It strings a number of thrilling chases and fights together with enough of a plotline to create the illusion that an adventure is happening. Action scenes will keep your monkey brain engaged. Harrison Ford shows incredible dedication to the bit, even at his age. Where the film falls short is, simply, the execution and script. The direction to start Indy off as a mopey, sadsack has-been is very unbecoming. Even more so when side characters try to upstage him, although I believe Phoebe Waller-Bridge's character exists not to steal the spotlight, but to keep the ball rolling as a morally-conflicted tomb raider (and for that I still found that character unlikable). This leaves Mads Mikkelsen as the next brightest star of the lot, and as always, he excels as the villain. As interesting as the time-travel twist is, it reaches an unsatisfactory conclusion, and the film overall fails to leave a lasting impression. A big part of this is the style—this is a modern action movie with a ton of CGI backgrounds, and very little of it is convincing. Spielberg's films will remain timeless (even KOTCS) because he does embrace classic Hollywood techniques and it accentuates the pulpy nature of these adventures.
Well, I didn't hate this one. Even though the first film had heart and charm, I wasn't really enthused for a sequel. Thankfully, with the emphasis on family, there is still some heart to the picture, and each character has enough personality to grant lighthearted humor and snap to many scenes. As far as the story goes, it's just fine. Nothing terribly deep or mind-blowing, but there are a few amusing gags, a few setups and payoffs that feel satisfying, and the film is a fair watch in the moment. Probably won't leave a lasting impact though.
What if elements had feelings?
The film is animated with gorgeous color and form, and there are genuinely fun and eye-popping moments. With a story that focuses on cultural differences being reconciled, it's easy to pinpoint the thematic relevancy that will appeal to adults and children alike.
All that being said, I wasn't entirely sold on the film in the end. The premise, fascinating though it is, makes for some really head-scratching world-building. Can't say I found the central romance as convincing as it should have been, and ultimately I'm not even sure I liked the main character for all the angry outbursts and the narrow-minded way she hounded various characters. Heck, the love interest's frequent crying was unbecoming in its own way. Why were these two a match? I don't think the script put enough focus on their chemistry—bigger focus was put on the madcap cartoon antics, which demanded a more involving plot than is really necessary for the story. I would have loved this so much more if it was a straightforward rom-com, with actual focus on showing why these characters connected as they did. There are cute bursts where the potential leaks through, and chances are that kids will enjoy it anyway, but I expected more.
This might come across as a throwaway straight-to-streaming comedy. It's a bit on the cheap side and it's not exactly the smoothest pacing or editing I've seen. Acting and writing won't win any awards. But it has enough humor to keep it entertaining, and enough heart to elevate it above most other Hollywood schlock. The movie's a fair story that's told with earnestness. That alone is enough. It's a harmless family-friendly ghost-themed comedy, and with tempered expectations, chances are you'll come out of it with good feelings.
Let's not kid ourselves, this movie is no masterpiece, and most will remember this as the biggest flop of the year. It doesn't help that The Flash struggled to make it to the big screen for decades, and the final product limped across the finish line in the shadow of Ezra Miller's controversies. It's hard to not consider this a hot mess, especially since all DC movies come across as hot messes.
All that being said, I was sufficiently entertained by the movie. It moves at a good pace, has plenty of eye-popping effects, and there's an attempt at levity that makes the experience laid-back and easy to watch. Various comic-book and film cameos will either elicit cheers or eye-rolls (but I didn't mind any of them—heck, I love seeing Michael Keaton in the batsuit again). It'd all be a far worse flop if it didn't strive for some level of heart, and thankfully I found Barry Allen's story compelling enough to make this baloney work (barely). I probably saw this same theme in better movies, but there is something insightful about the futility inherent to changing the past. It's not the best or most mind-blowing film, but it's superficially enjoyable and there is a bit of a personal touch to it.
Less is more, Marty.
Celine Song makes a strong first impression, presenting a well-build film with memorable leads and memorable relationships. The film strives for bittersweet tears by focusing on a love story that just doesn't pan out, but the feelings of longing (a kind that cuts across space and time nonetheless) is what gives it bite. Greta Lee, Teo Yoo, and John Magaro are all fine actors, and they're framed with really nice cinematography. This is not the kind of film I usually love, but there are good qualities worth appreciating.
Guy Ritchie breaks away from telling stories about plucky groups of criminals to tell a story about a plucky group of soldiers. Although some quippy banter and plenty of combat scenes will entice the average action-movie junkie (with style nonetheless), The Covenant draws attention to the ramifications of it title and puts the spotlight on unfulfilled promises. While this can be a scathing criticism against the military, the film's second half becomes more devoted to the personal struggle for one character to save another, and it's a surprisingly heartfelt journey.
One has to admire Gareth Edwards for at least trying. The Creator is easily the most eye-catching sci-fi movie since Oblivion, with some of the coolest combat scenes since Elysium. It's not all a blur of CGI either—much of the film's beauty stems from using real landscapes and a wealth of great-looking practical costumes and sets. Any given scene in this movie can easily outclass the modern waves of Marvel, DC, and Disney schlock, and I am enamored by the vivid world Edwards created in The Creator.
Sadly, this film could have used much more finesse with its script. While it aims for strong pathos, characters are never much deeper than surface-level traumas. The events that happen feel recycled from a myriad of other, better films (even going so far as rehashing the preachy anti-military and anti-American themes that defined Avatar, and there is a point where it becomes tiresome). The film is great in bursts, but it could have been greater if it paid more attention to its core concepts and the execution of its characters and storytelling. Funnily enough though, it's still a worthwhile viewing experience on the merits of its production, and the mere fact that it's something original by golly.
On the plus side, Jack Black gives the musical performance of the year with his "Peaches" song. Give the man an Oscar for best original song already, holy crap.
Ew, it's a girl's movie!
No, wait, it's good. Greta Gerwig purposefully crafted this film for mass appeal, addressing men and women alike. It is a snappy, cartoony self-aware comedy that everybody can enjoy.
But wait, hasn't the Barbie doll perpetuated an unhealthy standard for women across decades? Surely a movie based on the doll would objectify women.
No, wait, it's all good. The film openly acknowledges the toy's heritage and the story does revolve around Barbie's evolution, adopting to modern times to address current realities and the need to represent modern identities. For all that goes, the biggest point is that Barbie can be anybody, just as women can be anybody they dream of.
But what about Ken? The film literally says he's built solely to be within Barbie's gaze and he has no other purpose. What kind of double standard is this? It's sexist I tell you. Harumph!
No wait, it's all good. Ken has his own arc in which he finds a purpose and identity beyond being Barbie's object of affection.
And so it goes, the film brings one issue to mind, it addresses it with self-aware analysis and wit. It's hard to come into the Barbie brand without bringing up the battle of the sexes, and in doing so it will invite some controversy and ire. It does strive to achieve nuance though, perhaps going so far as satirizing the whole affair. But even without those layers, the film is sufficiently entertaining as a candy-coated comedy that celebrates a toy's enduring legacy.
Wait, this is just a toy commercial, isn't it? Nuts to this, imma watch some GI Joe and Transformers. Those are big boy movies.
You know what they say in all the Finnish memes I've seen on FB: the power of a Finn is the Sisu within. As an American of Finnish descent who likes action movies and can appreciate some grit, this seemed like a must-see. While the film plays out a lot dryer than I expected, it is pretty badass. Action scenes will satisfy those looking for a lot of brutal Nazi-killing. Cinematography can be eye-popping despite the drab nature of the settings.
Dracula media thrives only on fresh blood. Thankfully, this film thrives on the life blood of two Nicks—Nicolas Cage, channeling all his hammy powers as Dracula, and Nicholas Hoult, who takes the front stage as the titular Renfield with surprising nuance. Renfield finds its soul through its subversive approach, focusing on Dracula's narcissism and abusive relationship with his familiar. It is rather heartwarming to watch Renfield struggle to liberate himself, but with its witty script and no shortage of absurd, over-the-top violence, the film succeeds at being a snappy horror comedy. It even has some theatrical flair thanks to its vivid lighting, set design, fight choreography, and the playful way it edits in scenes from the classic Dracula film. It's a far more entertaining film than I expected it to be, but it helps that there's some heart to it as well.
You might have seen fantasy adventures like this before, where a party of outcasts group up on a journey with all the usual dragons, elves, dwarves, kings and queens, treasure-hunting, dungeon-crawling shenanigans. What sets this film apart is the heart and levity put into it. The film's script is sharp enough to cut through the many fantasy cliches that other films succumb to, even to the point of lampooning them (seriously, they put a chonky dragon in this?!). There are plenty of creative choices that feel inspired and are showcased in eye-popping ways. When the action scenes hit, they are sufficiently spectacular, feeling fresh and interesting to watch. Best of all though, the film does the work to give characters depth and life, giving us a stronger reason to care through all the clever twists and suspenseful turns. Comedy, terror, action, wonder, heart—the film has it all, and it's more satisfying and enjoyable than it had any right to be.
Now imagine how much more awesome some films would have been if it had as much effort and care as this one did. Like Morbius. Fast 9 or 10. That last Tomb Raider movie. 2010's Clash of the Titans. So many films could have been so much better.
If any character deserves to go out with a big bang, it's gotta be John Wick. Chapter 4 gives the man his biggest and most absurd rampage yet, mashing together enough enemies and conflict to fit two films (as was originally planned) for one epic finale. It helps that the pacing is high and the film never feels dull. Still invested in its unique underworld with interesting characters and rules, the film pushes Wick to an intense endgame filled with memorable setpieces and cheer-worthy moments of victory. The film is as visually-dazzling as its predecessors, accentuated with unique locations, vivid lighting, wonderful action choreography, and awesome music. Potential always existed for this series to drone on and on, but as it is, Chapter 4 gives it a bombastic, satisfying finale, cementing its legacy as one of the best action franchises of the modern age.
Director David Fincher adapts a French graphic novel with his signature perfectionist style to deliver the modern-day Le Samourai. As it was in the 60s (and across plenty of other assassin-themed movies since), there is something fascinating about the cool, procedural nature of these disciplined characters treating their grim professions with calculating precision and cold-hearted professionalism. But in a genre that's become diluted with such tropes, Michael Fassbender brings a different brand of assassin to life—one that emphasizes hipster tendencies beneath a nihilistic shell. With a focus on realism juxtapose with cynical narration, the film pushes a dour worldview lacking in emotion and compassion. It has the effect of portraying a try-hard character navigating a razor-thin plotline established in post-modern genre deconstruction—it's a movie that spits in the candy-coated faces of James Bond and Agent 47, and I strongly suspect it's intended to reflect the troubling aggression and disillusionment of modern men. It's not a pretty picture, and with ample amounts of negative space many will peg this as droll. The style and character fascinates me though, far more than most other schlock that's come out this year.
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47 - Skinamarink
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| You call this cinema?! |
This film is definitely a mood. As the film focuses on flickering TV screens, whispers in the dead of night, and darkness, the vibes are certainly uncanny and spooky. But when the camera shows everything except actual people and their faces, it's really hard to connect or care for this work. Even harder when the characters do so little, leaving only the atmosphere to linger for 100 minutes. I have to admit that the dead space has its value—when the scares happen, they happen subtly, and they stand out more when the rest of the film is dead quiet. Didn't care for the film's approach though. It's stylistically ugly, photographic composition is droll, and there just isn't much to this story.
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46 - The Blackening
Didn't find this funny enough as a comedy, didn't find it scary enough as horror—stuck in that odd middle ground of mediocrity, I found this movie interesting only in concept and in small bursts. Few amusing observations (best highlighted in the movie's entire premise), but like many modern comedies it relies pretty heavily on a lot of asides that draw attention to certain things, but it didn't make me laugh that much. It could be I'm way too far outside the target audience, but then again, I keep thinking that Scary Movie achieved much bigger laughs with the similar goal of roasting horror movie tropes.
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45 - Ant-Man: Quantumania
Remember when it seemed like a Marvel movie could do no wrong, and the first two Ant-Man films could be taken as simple, laid-back entertainment? I kind of miss those days.
With a title like Quantumania, this was probably always meant to be a bigger, sloppier, over-the-top anything-goes kind of movie. It does bug me though that it doesn't align well with the first two movies, dropping the lower-stakes characters (like my man Luis) and all the running gags they carried. The film becomes hellbent on becoming the exact same stupid blockbuster you've seen hundreds of times before, going through the motions of a formulaic script with minimal character development. For a film set in the quantum realm, world-building is hard to reconcile. Even harder to reconcile Kang as the new big bad we're supposed to find intimidating, but he comes off as just another dude. The film is awash in strange and stupid creative decisions, demonstrating the bare minimum thought put into every scene as it strives for mediocrity. I'd find it more forgiving if there was more heart and thought put into it, but as it is, it's hard to see it as anything but a soulless, bland product.
Few fun parts though.
With a title like Quantumania, this was probably always meant to be a bigger, sloppier, over-the-top anything-goes kind of movie. It does bug me though that it doesn't align well with the first two movies, dropping the lower-stakes characters (like my man Luis) and all the running gags they carried. The film becomes hellbent on becoming the exact same stupid blockbuster you've seen hundreds of times before, going through the motions of a formulaic script with minimal character development. For a film set in the quantum realm, world-building is hard to reconcile. Even harder to reconcile Kang as the new big bad we're supposed to find intimidating, but he comes off as just another dude. The film is awash in strange and stupid creative decisions, demonstrating the bare minimum thought put into every scene as it strives for mediocrity. I'd find it more forgiving if there was more heart and thought put into it, but as it is, it's hard to see it as anything but a soulless, bland product.
Few fun parts though.
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44 - Siege
Asedio
Appropriately, this Spanish thriller is often described as a low-rate The Raid. There is a big (and totally unsubtle) focus on social problems like immigration and police corruption, and there's a big focus on style (mostly by spamming the long-takes). It's thrilling at times, but it's also dour, oppressive, and not particularly deep.
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43 - Asteroid City
Liking this one might boil down to how much you like Wes Anderson and his films, which all follow the same formula of immersing audiences in quirky pastel-colored worlds populated by deadpan characters in outrageous situations. There are definitely charming moments scattered throughout Asteroid City, and the film overall is crafted with the same precision and charm that make all of Anderson's films standouts. Personally though, I thought this particular film was rather dry, stiff, and droll. There isn't a clear-cut plotline, and it comes across as a disjointed collection of scenes. At the very least, I would have loved this more if it had more snap and personality to it.
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42 - Cocaine Bear
It is exactly what you expect from a movie with this title. Though based on a real-life case, the film adapts nothing really true about the original story, other than a bear once stumbled across some abandoned cocaine and consumed it. The film plays up the outrageous nature of the story, using it as the basis for an absurd over-the-top massacre. This ultimately calls for the film to build up a cast of random characters with narrative threads that tie together with the bear's rampage—it would be fun if the characters weren't as dippy as they are. Above all though, the film wants to play all of this off as a joke, but when the bear itself is the joke, every other attempt at humor comes off as lame. Despite the premise, the film didn't really elicit much laughter. And sure, the violence is pretty extreme, but it's played straight as pure shock value—some of these deaths just ticked me off, because these characters didn't really deserve such gruesome fates. There are Troma films that are grosser but also more hilarious than this, precisely because they turn the violence into jokes in themselves. Cocaine Bear is only interested in one joke, but it's a one-trick bear.
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41 - Mad Heidi
Look at all the cheeeeeeeese!
Nothing terribly innovative or fresh, this is a goofy, cheap, over-the-top grindhouse-style picture that offers bloody fights and exploitation as entertainment. It's layered with a lot of horrible cheese-related puns, because, you know, it's Switzerland. I rate this film as highly as I do because there is some snap to it, with enough comedy, action, and a clear Tarantino-inspired editing style that keeps the film rolling at a good pace. Above all though, despite the extreme violence, I do look up to the fundamental plotline as it showcases a young woman rising out of adversity and seeking vengeance against fascists. There is something empowering and awesome about it, even if it's been done before in other exploitation pictures.
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40 - Rebel Moon Part One: A Child of Fire
Legend has it that Zack Snyder pitched a Star Wars project to LucasFilm, but was rejected. Unsurprisingly, Rebel Moon stemmed from this rejected premise, and it should be obvious given the smattering of space opera tropes that feel lifted from Star Wars. There's even an alien cantina scene by golly. There is a lot to gripe about—the film lacks subtlety, even going so far as showing the villains as literal space Nazis. Worldbuilding is scattershot and crazy. Production design is vivid, but there are a lot of head-scratching decisions. The story, which emphasizes one character gathering a team of heroes to protect a village, unironically echoes Battle Beyond the Stars, which in turn echoes The Magnificent Seven, which in turn echoed Seven Samurai, and you know this story's been done so many times it's ridiculous. But all that being said, I wasn't bored. There are some cool moments to behold, I love the sound design and music score, and I was sufficiently invested in the character and universe by the finale. I suspect things could come together into a grand epic with future installments. On its own, Part One feels like a second draft of somebody's sci-fi novel made into a film—a little rough in parts, but there are cool ideas to be found.
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39 - Indiana Jones and the Dial of Destiny
It's hard to clear a bar that's been set high 40 years ago. Even Spielberg and the gang couldn't quite match their own prowess when they brought Indy back for Kingdom of the Crystal Skull. Understandably, fans will probably dig the stronger gravitas of Dial of Destiny, but sadly, I see it as a more dour experience.
To be fair, the film is fine moment-by-moment. It feels like a proper adventure picture. It strings a number of thrilling chases and fights together with enough of a plotline to create the illusion that an adventure is happening. Action scenes will keep your monkey brain engaged. Harrison Ford shows incredible dedication to the bit, even at his age. Where the film falls short is, simply, the execution and script. The direction to start Indy off as a mopey, sadsack has-been is very unbecoming. Even more so when side characters try to upstage him, although I believe Phoebe Waller-Bridge's character exists not to steal the spotlight, but to keep the ball rolling as a morally-conflicted tomb raider (and for that I still found that character unlikable). This leaves Mads Mikkelsen as the next brightest star of the lot, and as always, he excels as the villain. As interesting as the time-travel twist is, it reaches an unsatisfactory conclusion, and the film overall fails to leave a lasting impression. A big part of this is the style—this is a modern action movie with a ton of CGI backgrounds, and very little of it is convincing. Spielberg's films will remain timeless (even KOTCS) because he does embrace classic Hollywood techniques and it accentuates the pulpy nature of these adventures.
One gets the impression that LucasFilm (*sigh*...and Disney) approached this with no discipline or understanding of the series' legacy. It can be easily pegged as another bland franchise film of the modern age, artificially designed to be crowd-pleasing and to maximize profit. Fortunately, it's also easy to skip this way—the original three (or four) will remain the most essential adventures for me.
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38 - Shazam! Fury of the Gods
Well, I didn't hate this one. Even though the first film had heart and charm, I wasn't really enthused for a sequel. Thankfully, with the emphasis on family, there is still some heart to the picture, and each character has enough personality to grant lighthearted humor and snap to many scenes. As far as the story goes, it's just fine. Nothing terribly deep or mind-blowing, but there are a few amusing gags, a few setups and payoffs that feel satisfying, and the film is a fair watch in the moment. Probably won't leave a lasting impact though.
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37 - Elemental
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| If this is a film with Earth, fire, wind, water, and heart, where was Captain Planet when they needed him? |
What if elements had feelings?
The film is animated with gorgeous color and form, and there are genuinely fun and eye-popping moments. With a story that focuses on cultural differences being reconciled, it's easy to pinpoint the thematic relevancy that will appeal to adults and children alike.
All that being said, I wasn't entirely sold on the film in the end. The premise, fascinating though it is, makes for some really head-scratching world-building. Can't say I found the central romance as convincing as it should have been, and ultimately I'm not even sure I liked the main character for all the angry outbursts and the narrow-minded way she hounded various characters. Heck, the love interest's frequent crying was unbecoming in its own way. Why were these two a match? I don't think the script put enough focus on their chemistry—bigger focus was put on the madcap cartoon antics, which demanded a more involving plot than is really necessary for the story. I would have loved this so much more if it was a straightforward rom-com, with actual focus on showing why these characters connected as they did. There are cute bursts where the potential leaks through, and chances are that kids will enjoy it anyway, but I expected more.
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36 - We Have a Ghost
This might come across as a throwaway straight-to-streaming comedy. It's a bit on the cheap side and it's not exactly the smoothest pacing or editing I've seen. Acting and writing won't win any awards. But it has enough humor to keep it entertaining, and enough heart to elevate it above most other Hollywood schlock. The movie's a fair story that's told with earnestness. That alone is enough. It's a harmless family-friendly ghost-themed comedy, and with tempered expectations, chances are you'll come out of it with good feelings.
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35 - Blue Beetle
Never heard of any Blue Beetle before, and I suspect many others haven't either, so it's no surprise to hear that this was a bit of a flop. Once I mustered the motivation to see this, it was surprisingly not bad. In fact, it stands out a little better thanks to the focus on a lovable Latin-American family and the unique mythology behind the Blue Beetle. Action scenes are exciting, sure. The levity keeps the film lightweight and fun. Fortunately, there is enough heart and soul to make the experience worthwhile. Still can't shake the feeling that this is just another typical superhero flick, but it's worth a rent.
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34 - The Little Mermaid
Wasn't enthused for yet another live-action Disney remake (especially after the horror show that was Pinocchio), but I have to admit that the new Little Mermaid is fine. Heck, it looks gorgeous at times thanks to the lush underwater scenery (even if it is all CGI, it's pretty well-done). The cast was fine. The story is fine (close to the original cartoon, as expected). Aside from the grating "Scuttlebutt" song, there's very little I'd say is bad about this movie—it's sufficiently entertaining and would be a good choice for family-friendly viewing. It's just the persistent issue that making these movies are creatively unimaginative and by-the-numbers. I'd rank this one higher than most, but it certainly doesn't surpass the original.
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33 - Sly
A rather short and straightforward documentary that whizzes through Sylvester Stallone's career. There are admirable milestones for a self-made actor who rose from obscurity and achieved massive success in many franchises. It is a life story worth celebrating, and some of Sly's comments do hit you in the heart. It's just very surface-level coverage with few notable guest interviewees (Tarantino, really?). Didn't cut as deep as it could have.
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32 - The Flash
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| Even Barry Allen doesn't know what's going on anymore. |
Let's not kid ourselves, this movie is no masterpiece, and most will remember this as the biggest flop of the year. It doesn't help that The Flash struggled to make it to the big screen for decades, and the final product limped across the finish line in the shadow of Ezra Miller's controversies. It's hard to not consider this a hot mess, especially since all DC movies come across as hot messes.
All that being said, I was sufficiently entertained by the movie. It moves at a good pace, has plenty of eye-popping effects, and there's an attempt at levity that makes the experience laid-back and easy to watch. Various comic-book and film cameos will either elicit cheers or eye-rolls (but I didn't mind any of them—heck, I love seeing Michael Keaton in the batsuit again). It'd all be a far worse flop if it didn't strive for some level of heart, and thankfully I found Barry Allen's story compelling enough to make this baloney work (barely). I probably saw this same theme in better movies, but there is something insightful about the futility inherent to changing the past. It's not the best or most mind-blowing film, but it's superficially enjoyable and there is a bit of a personal touch to it.
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31 - Divinity
I have no idea what's even going on with this one. I think I liked it? Should probably hate it given how sour the film's approach often is, pushing plenty of seedy shock value beneath its try-hard arthouse veneer. I do love watching the vivid black-and-white scenes and all the bizarre artistic imagery. Despite the messy plot, I was entranced by the unique ideas of life-giving drugs inducing immortality, thus leading to bigger themes concerning godhood. It is a hot mess (likely because the film had no script), but there are sparks of interesting ideas and eye-popping scenes that I appreciate.
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30 - Killers of the Flower Moon
It's a three-and-a-half hour Martin Scorsese film, so of course film fans will eat this up. Though the film boasts a handsome quality, snappy editing style, and a decent cast, I struggled to really care about this story. The sheer length and pacing of it drags even more than The Irishman did. The most interesting and compelling dramatic scenes are spaced out with way too much filler. The period reproduction looks slick, actors pull their weight well, but the story eluded me.
Less is more, Marty.
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29 - Past Lives
Celine Song makes a strong first impression, presenting a well-build film with memorable leads and memorable relationships. The film strives for bittersweet tears by focusing on a love story that just doesn't pan out, but the feelings of longing (a kind that cuts across space and time nonetheless) is what gives it bite. Greta Lee, Teo Yoo, and John Magaro are all fine actors, and they're framed with really nice cinematography. This is not the kind of film I usually love, but there are good qualities worth appreciating.
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28 - Fallen Leaves
Kuolleet Lehdet
If you've seen Aki Kaurismäki's films, you may find that his latest has all the same virtues as his previous works, even from decades ago. Made as a continuation of the proletariat trilogy, Fallen Leaves goes through the motions of showcasing working-class characters crossing paths, connecting, and struggling to stay connected. Just like with Shadows In Paradise, there is a dry, deadpan approach to every scene that may come across as cold and detached, but the film finds its own heart through the marvelous leads and their approach to each slice of life. It's a solid film that falls in line with the director's line of work, and certainly finds a fascinating identity of its own.
Guy Ritchie seems to be on fire these days, pumping one thriller out after another (wait...he released two films this year?!). With Statham nonetheless. The release of Operation Fortune feels mundane, but when I took the time to watch it, I found myself effectively mesmerized by the experience. Somewhere between the twisty plot, colorful levity (thanks largely to Aubrey Plaza, probably my favorite side character of the year), thrilling action scenes, and the overall Bond-inspired vibes, the film sustains an entertaining pace. It never comes across as flashy, ambitious, or deep it's just a fun caper.
I find myself enjoying the Evil Dead media the best when Bruce Campbell leads the franchise. Understandably, he can't do it forever, but I find it a little off-putting when the series seems to jump over the 2013 reboot and take off in some other disconnected direction. What is this, another Terminator reboot?
I thought this would be pretty droll at first glance, but the film turned out to be more interesting than expected. It certainly doesn't hold back on the blood—there's so much of it by the end. But this entry sustained my interest with the core conflict of a loving mother becoming a deadite—it's poignant, if not heart-wrenching, to watch a family (even a troubled one) torn apart this way. It's more bite and terror than I expected, and the film looks pretty dang good. Could do without the jump-scares. The callbacks to the older films is a little eye-rolling. Otherwise, it's a better horror experience than I expected.
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27 - Operation Fortune: Ruse De Guerre
Guy Ritchie seems to be on fire these days, pumping one thriller out after another (wait...he released two films this year?!). With Statham nonetheless. The release of Operation Fortune feels mundane, but when I took the time to watch it, I found myself effectively mesmerized by the experience. Somewhere between the twisty plot, colorful levity (thanks largely to Aubrey Plaza, probably my favorite side character of the year), thrilling action scenes, and the overall Bond-inspired vibes, the film sustains an entertaining pace. It never comes across as flashy, ambitious, or deep it's just a fun caper.
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26 - Evil Dead Rise
I find myself enjoying the Evil Dead media the best when Bruce Campbell leads the franchise. Understandably, he can't do it forever, but I find it a little off-putting when the series seems to jump over the 2013 reboot and take off in some other disconnected direction. What is this, another Terminator reboot?
I thought this would be pretty droll at first glance, but the film turned out to be more interesting than expected. It certainly doesn't hold back on the blood—there's so much of it by the end. But this entry sustained my interest with the core conflict of a loving mother becoming a deadite—it's poignant, if not heart-wrenching, to watch a family (even a troubled one) torn apart this way. It's more bite and terror than I expected, and the film looks pretty dang good. Could do without the jump-scares. The callbacks to the older films is a little eye-rolling. Otherwise, it's a better horror experience than I expected.
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25 - The Covenant
Guy Ritchie breaks away from telling stories about plucky groups of criminals to tell a story about a plucky group of soldiers. Although some quippy banter and plenty of combat scenes will entice the average action-movie junkie (with style nonetheless), The Covenant draws attention to the ramifications of it title and puts the spotlight on unfulfilled promises. While this can be a scathing criticism against the military, the film's second half becomes more devoted to the personal struggle for one character to save another, and it's a surprisingly heartfelt journey.
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24 - No One Will Save You
Wordless and simple, but not necessarily quiet or uneventful. As the film puts all of its focus on one woman suffering the scorn of a whole town (which, honestly, is the most frustrating aspect, especially since no dialogue offers any explanation behind why), the story draws the viewer close to her and makes the many harrowing encounters terrifying. There is a fascinating point being made concerning conformity and judgment, and it leads up to an intriguing twist ending. It's all thrilling to experience, with just enough bread crumbs scattered around to lead your curiosity to its bizarre twist ending.
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23 - Talk To Me
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| Pleased to meet you. Wish you were here. |
If anything can approach the novelty of the original Flatliners, it's this film. Of course it's a bad idea to shake a creepy hand statue and invite spirits into you, but here we are, watching a group of dippy kids turn this into a party game, and it obviously leads to horrifying outcomes. The dramatic heights are definitely gripping as events send characters at each others' throats, but the supernatural threats are genuinely frightening, and it builds up to a whopper of a final scene.
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22 - The Creator
Whoa whoa whoa, what's this? An original Hollywood sci-fi epic that's not based on a comic book? It's not a sequel, prequel, requel, or reboot? What kind of madness is this—did I wake up in the 1990s somehow?
One has to admire Gareth Edwards for at least trying. The Creator is easily the most eye-catching sci-fi movie since Oblivion, with some of the coolest combat scenes since Elysium. It's not all a blur of CGI either—much of the film's beauty stems from using real landscapes and a wealth of great-looking practical costumes and sets. Any given scene in this movie can easily outclass the modern waves of Marvel, DC, and Disney schlock, and I am enamored by the vivid world Edwards created in The Creator.
Sadly, this film could have used much more finesse with its script. While it aims for strong pathos, characters are never much deeper than surface-level traumas. The events that happen feel recycled from a myriad of other, better films (even going so far as rehashing the preachy anti-military and anti-American themes that defined Avatar, and there is a point where it becomes tiresome). The film is great in bursts, but it could have been greater if it paid more attention to its core concepts and the execution of its characters and storytelling. Funnily enough though, it's still a worthwhile viewing experience on the merits of its production, and the mere fact that it's something original by golly.
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21 - Missing
A new variant on the innovative filmmaking shenanigans that made Searching fresh and interesting. Missing continues the trend of building a whole movie based on, simply, phone and computer screenshots. With a story expanded into more international locations, the film manages to feel bigger than its predecessor. It pulls out some dang big plot twists—it might come across as convoluted or improbable, but I appreciate how the film takes every opportunity to eke out tension and misdirection with every new turn. Some folks will probably write this off as dumb, but the experience genuinely kept me at the edge of my seat.
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20 - Super Mario Bros: The Movie
It is genuinely exciting to see a video game franchise treated right on the big screen. Especially considering how the last Super Mario Bros. adaptation went, yeesh.
Illumination's version earns some brownie points by default, for faithfully adapting the characters and staying true to the world-building. In fact, it probably plays things too safe, harping a lot on references and nostalgia to elicit a positive fan response. You can tell that they took the greatest hits from the greatest games (including Donkey Kong and Mario Kart) and strung them into a by-the-numbers plotline (one that's surprisingly not too dissimilar to the '93 film that we all hate). It is a slight letdown only because the film never takes the opportunity to break any new ground to deepen its story—it's generally no different than their other animated properties, which also appear on-brand but come off as hollow.
Illumination's version earns some brownie points by default, for faithfully adapting the characters and staying true to the world-building. In fact, it probably plays things too safe, harping a lot on references and nostalgia to elicit a positive fan response. You can tell that they took the greatest hits from the greatest games (including Donkey Kong and Mario Kart) and strung them into a by-the-numbers plotline (one that's surprisingly not too dissimilar to the '93 film that we all hate). It is a slight letdown only because the film never takes the opportunity to break any new ground to deepen its story—it's generally no different than their other animated properties, which also appear on-brand but come off as hollow.
On the plus side, Jack Black gives the musical performance of the year with his "Peaches" song. Give the man an Oscar for best original song already, holy crap.
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19 - Barbie
Ew, it's a girl's movie!
No, wait, it's good. Greta Gerwig purposefully crafted this film for mass appeal, addressing men and women alike. It is a snappy, cartoony self-aware comedy that everybody can enjoy.
But wait, hasn't the Barbie doll perpetuated an unhealthy standard for women across decades? Surely a movie based on the doll would objectify women.
No, wait, it's all good. The film openly acknowledges the toy's heritage and the story does revolve around Barbie's evolution, adopting to modern times to address current realities and the need to represent modern identities. For all that goes, the biggest point is that Barbie can be anybody, just as women can be anybody they dream of.
But what about Ken? The film literally says he's built solely to be within Barbie's gaze and he has no other purpose. What kind of double standard is this? It's sexist I tell you. Harumph!
No wait, it's all good. Ken has his own arc in which he finds a purpose and identity beyond being Barbie's object of affection.
And so it goes, the film brings one issue to mind, it addresses it with self-aware analysis and wit. It's hard to come into the Barbie brand without bringing up the battle of the sexes, and in doing so it will invite some controversy and ire. It does strive to achieve nuance though, perhaps going so far as satirizing the whole affair. But even without those layers, the film is sufficiently entertaining as a candy-coated comedy that celebrates a toy's enduring legacy.
Wait, this is just a toy commercial, isn't it? Nuts to this, imma watch some GI Joe and Transformers. Those are big boy movies.
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18 - Sisu
You know what they say in all the Finnish memes I've seen on FB: the power of a Finn is the Sisu within. As an American of Finnish descent who likes action movies and can appreciate some grit, this seemed like a must-see. While the film plays out a lot dryer than I expected, it is pretty badass. Action scenes will satisfy those looking for a lot of brutal Nazi-killing. Cinematography can be eye-popping despite the drab nature of the settings.
With slower scenes padding the scenes out, it comes off as a little hollow, leaving one to wonder what else there is to take away from the film. On the other hand, I do appreciate that the film does what it does without extraneous dialogue, letting actions speak for themselves most of the time. However, I expected more snap to this (thanks largely to the Tarantino-esque trailers). It's a fair experience that does justice to the Sisu spirit, and I'd probably prefer this over the latest Rambo picture, but it's best taken with tempered expectations.
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17 - Renfield
Dracula media thrives only on fresh blood. Thankfully, this film thrives on the life blood of two Nicks—Nicolas Cage, channeling all his hammy powers as Dracula, and Nicholas Hoult, who takes the front stage as the titular Renfield with surprising nuance. Renfield finds its soul through its subversive approach, focusing on Dracula's narcissism and abusive relationship with his familiar. It is rather heartwarming to watch Renfield struggle to liberate himself, but with its witty script and no shortage of absurd, over-the-top violence, the film succeeds at being a snappy horror comedy. It even has some theatrical flair thanks to its vivid lighting, set design, fight choreography, and the playful way it edits in scenes from the classic Dracula film. It's a far more entertaining film than I expected it to be, but it helps that there's some heart to it as well.
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16 - The Holdovers
Christmas at a prep school sounds like a bummer, although The Holdovers makes this fertile ground for a surprising amount of dramatic potential. The clash of personalities provides a good amount of comedy and conflict, but as the film progresses, its focus tightens on a budding relationship that cuts deeper into the characters and their unique stances on life. Echoing the sentiments in films like Dead Poets Society, the film ultimately finds its heart in showing how generations connect and inspire each other within academia. You do have to cut through some jaded cynicism to get there, but there is certainly charm behind it.
Some things need to be said. The current media landscape isn't receptive to letting certain hard truths being shown or spoken about in the arts, so it's no surprise that it takes an independent studio and 100,000 online investors to produce a film that Hollywood studios (namely Fox) didn't have the guts to make themselves. Sound of Freedom has the gumption to shine a spotlight on the issues concerning child trafficking, and it treads the fine line between showing enough of its horror to elicit shock, but without relying on graphic or exploitative material. There is no real subtlety to the film, given the sheer amount of on-the-nose dialogue that bleats the movie's mission statement to the audience. Personally though, I appreciate the frank, direct approach. What good is subtlety anyway when the message alone can hit you in the heart? And nothing says it more succinctly than "God's children are not for sale."
The story and delivery won me over, but the film earns its extra brownie points for looking really professional with its grade-A photography, sound design, and music score. Jim Caviezel is a real chad as he portrays the real-life chad that inspired this whole movie. It's a far better film than I'd expect from Angel Studios, and I appreciate that they're willing to let the movie tell it like it is. Even though there are films I rank higher, this is the one that probably deserves to be seen the most by the general public.
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15 - The Sound of Freedom
Some things need to be said. The current media landscape isn't receptive to letting certain hard truths being shown or spoken about in the arts, so it's no surprise that it takes an independent studio and 100,000 online investors to produce a film that Hollywood studios (namely Fox) didn't have the guts to make themselves. Sound of Freedom has the gumption to shine a spotlight on the issues concerning child trafficking, and it treads the fine line between showing enough of its horror to elicit shock, but without relying on graphic or exploitative material. There is no real subtlety to the film, given the sheer amount of on-the-nose dialogue that bleats the movie's mission statement to the audience. Personally though, I appreciate the frank, direct approach. What good is subtlety anyway when the message alone can hit you in the heart? And nothing says it more succinctly than "God's children are not for sale."
The story and delivery won me over, but the film earns its extra brownie points for looking really professional with its grade-A photography, sound design, and music score. Jim Caviezel is a real chad as he portrays the real-life chad that inspired this whole movie. It's a far better film than I'd expect from Angel Studios, and I appreciate that they're willing to let the movie tell it like it is. Even though there are films I rank higher, this is the one that probably deserves to be seen the most by the general public.
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14 - RoboDoc: The Creation of RoboCop
As a film fan, it is natural to talk about films for hours, but it's also gratifying to listen about interesting film productions for even more hours. Just when you think you know everything about a single film, RoboDoc presents a sprawling five-hour exploration of every aspect of RoboCop's production, including first-hand accounts from the cast members and director Paul Verhoeven. As the documentary goes through scene-by-scene, it lends itself to easy-going conversations about the filming process, addressing several major challenges while also celebrating the film's success and shedding light on its themes. RoboCop had earned my appreciation years ago, but this documentary widened my appreciation of the cast and crew as well, and even with its massive runtime, it was never boring.
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13 - M3GAN
Hokey, I know, but I was entertained. A lot. Something about the tone, writing, levity, the way scenes are blocked, creative decisions and the nature of the story invoked a sense of fun that reminded me of horror movies I used to love in the 90s. There's an intangible snap to it that carries the film through its absurd storyline. However, the film does the work to keep audiences invested in the characters, and it becomes surprisingly relevant and emotional as it explores the themes of technology and its role in parenting. It's more depth than I expected, but even without it, the film is quite the thrill ride, and M3GAN herself is easily the scariest robot I've seen since GLaDOS.
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12 - Dungeons & Dragons: Honor Among Thieves
Movies like this seem to come and go year after year. It seems like the vast majority of blockbusters aim to be adventures, but they rarely capture the right spirit. Most of them simply miss a certain something: a spark of creativity, enthusiasm for the material, or perhaps passion. Somehow, against all expectation and seemingly out of nowhere, it's D&D: Honor Among Thieves that demonstrates more sprit than decades of similar adventures (including the other abysmal D&D movies).
You might have seen fantasy adventures like this before, where a party of outcasts group up on a journey with all the usual dragons, elves, dwarves, kings and queens, treasure-hunting, dungeon-crawling shenanigans. What sets this film apart is the heart and levity put into it. The film's script is sharp enough to cut through the many fantasy cliches that other films succumb to, even to the point of lampooning them (seriously, they put a chonky dragon in this?!). There are plenty of creative choices that feel inspired and are showcased in eye-popping ways. When the action scenes hit, they are sufficiently spectacular, feeling fresh and interesting to watch. Best of all though, the film does the work to give characters depth and life, giving us a stronger reason to care through all the clever twists and suspenseful turns. Comedy, terror, action, wonder, heart—the film has it all, and it's more satisfying and enjoyable than it had any right to be.
Now imagine how much more awesome some films would have been if it had as much effort and care as this one did. Like Morbius. Fast 9 or 10. That last Tomb Raider movie. 2010's Clash of the Titans. So many films could have been so much better.
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11 - Spider-Man: Across the Spider-Verse
A few years ago, Sony opened up a multiverse of possibilities with their animated Spider-Man franchise that follows the growing pains of Miles Morales. A sequel was inevitable. And of course it's solid. It bears all the same qualities as its predecessor, achieving a punchy and vibrant presentation through its unique style that blends pop-art aesthetics with choppy frames and lucid 3D renderings. This entry even finds some space to flex some creative gags, which includes live-action inserts, animating a punk Spider-Man with paper cutout style, an Indian-themed Spider-Man, and more opportunities to insert the pointing-Spider-Man meme. Beyond those superficial qualities though, the film still strives to heart by focusing on the characters and their relationships. Can't say I love the cliffhanger ending, but I do have a good feeling that the third installment will be as solid as all these other ones have been.
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10 - Mission Impossible: Dead Reckoning Part One
Seventh in the series, this mission is unsurprisingly routine, but also unsurprisingly good. Christopher McQuarrie delivers a slick experience, as expected, and Tom Cruise continues to dominate the screen with real stunts and gravitas, as usual. It'd almost be mundane if there was any less attention to detail, but thankfully the film commands attention with its sense of character, confident style, and dedication to the bit. The film has numerous tension-filled setpieces that are genuinely gripping. It's all unified by the story, which puts focus on a runaway AI and underscores modern fears behind the technology. My only gripe is that the script is rather shallow and cliché-ridden, and we'll have to wait for Part 2 to see how this is wrapped up.
It's been a long six years since the last volume, and it's hard to shake off the negative buzz that plagued James Gunn lately. Even harder to shake off the apathy I've started to feel towards Marvel and Disney properties. Should have kept my faith in Gunn being Gunn though, because once GOTG Vol. 3 found its stride, it becomes a fairly remarkable sprint that outpaces Marvel's mediocrity.
Volume 3's opener comes off as mopey, not only because they used Radiohead's "Creep" to frame Rocket's painful backstory, but also because trauma becomes the through-line for the every character. It's not particularly becoming to watch our favorite misfits pout and shout at each other, but it doesn't exactly come out of left field either—the film recognizes how far these characters have come, how things have changed since the beginning, and it becomes quite an emotional struggle for them to hold things together as a family. That's where all the heart is, and it does hit hard at key moments. All that being said, the film still has its hilarious moments from the second act onwards, as if humor factors into the healing process. There are some very bizarre and eye-popping creative designs on show (a meat planet, seriously?!). Action scenes are as spectacular as ever. I even appreciate that all the threads left from the last volume are addressed. It's a much more satisfying adventure than I expected, and I'm grateful that it wears its broken heart on its sleeve and still troops on. It's a lot more merit than any other Marvel film has shown throughout...whatever phase we're on now.
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9 - Guardians of the Galaxy Volume 3
It's been a long six years since the last volume, and it's hard to shake off the negative buzz that plagued James Gunn lately. Even harder to shake off the apathy I've started to feel towards Marvel and Disney properties. Should have kept my faith in Gunn being Gunn though, because once GOTG Vol. 3 found its stride, it becomes a fairly remarkable sprint that outpaces Marvel's mediocrity.
Volume 3's opener comes off as mopey, not only because they used Radiohead's "Creep" to frame Rocket's painful backstory, but also because trauma becomes the through-line for the every character. It's not particularly becoming to watch our favorite misfits pout and shout at each other, but it doesn't exactly come out of left field either—the film recognizes how far these characters have come, how things have changed since the beginning, and it becomes quite an emotional struggle for them to hold things together as a family. That's where all the heart is, and it does hit hard at key moments. All that being said, the film still has its hilarious moments from the second act onwards, as if humor factors into the healing process. There are some very bizarre and eye-popping creative designs on show (a meat planet, seriously?!). Action scenes are as spectacular as ever. I even appreciate that all the threads left from the last volume are addressed. It's a much more satisfying adventure than I expected, and I'm grateful that it wears its broken heart on its sleeve and still troops on. It's a lot more merit than any other Marvel film has shown throughout...whatever phase we're on now.
I lost count, is this phase twelve now, or something?
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8 - Godland
Vanskabte Land
Undeniably the most beautiful film from 2023 that my eyeballs have beheld. The gorgeous Icelandic landscapes are part of the film's beauty, as it captures the raw and rugged glaciers, mountains, volcanoes, fields, and oceans with a photographic panache. It's more than appropriate for a film about a photographer trekking around Iceland, but beneath the rustic beauty lies layers of thematic material that permeates the subtle drama between the characters (and ultimately between whole cultures). The film's pacing is a challenge for me, but the sheer quality of the film definitely commands attention, and the story it tells has fascinating subtexts that deserve study.
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7 - Saltburn
I love a good downward spiral sometimes. Although the film is often compared to works like Pasolini's Teorema, Saltburn strives to be in a class of its own, and it presents itself handsomely through its firm cinematography, dedicated performances, and sheer mood. It is definitely an experience, and it becomes increasingly uneasy as it showcases a despicable character enthralled by obsession. It leads to some shocking scenes that will keep folks talking, and the final shot leaves nothing to the imagination. Like plenty of other acclaimed films, it showcases a sordid affair wrapped in an artistic presentation—it might not be deep, but like salt in a wound, the burn is strong.
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6 - Beau Is Afraid
There is so much to be afraid of these days. Like brown recluse spiders. Wackos on the street, always trying to break in to your home. What if you take your medicine the wrong way? Above all though, what would your mother think of you? *gasp!*
Of all the movies I've seen this year, this is the one that probably gives me the most anxiety. This long, surrealist yarn about a man who just can't seem to find his way home is as unique and relatable as it is frustrating. The first 40 minutes is a whopper of an experience, painting a strange and stress-inducing picture of modern American living that feels ripped straight from all the crazy stories I see coming out of the news and social media. The middle and final acts don't have nearly as much snap, but as it is with his other films, Ari Aster juggles gut-wrenching themes of narcissism, guilt, and judgment (among family nonetheless) and ties them up in an existential drama that echoes the experience of Charlie Kaufman's films (especially Synecdoche, New York), but with a plotline that echoes The Truman Show. Beau Is Afraid is often a frustrating (and maybe even manipulative) watch as Beau is constantly accosted by unreasonably cruel characters and twists of fate, but I honestly do relate to his struggles with shame. Kudos to Joaquin Phoenix, who despite all the crying and bumbling, does present a skilled performance.
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5 - John Wick Chapter 4
If any character deserves to go out with a big bang, it's gotta be John Wick. Chapter 4 gives the man his biggest and most absurd rampage yet, mashing together enough enemies and conflict to fit two films (as was originally planned) for one epic finale. It helps that the pacing is high and the film never feels dull. Still invested in its unique underworld with interesting characters and rules, the film pushes Wick to an intense endgame filled with memorable setpieces and cheer-worthy moments of victory. The film is as visually-dazzling as its predecessors, accentuated with unique locations, vivid lighting, wonderful action choreography, and awesome music. Potential always existed for this series to drone on and on, but as it is, Chapter 4 gives it a bombastic, satisfying finale, cementing its legacy as one of the best action franchises of the modern age.
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4 - The Killer
Director David Fincher adapts a French graphic novel with his signature perfectionist style to deliver the modern-day Le Samourai. As it was in the 60s (and across plenty of other assassin-themed movies since), there is something fascinating about the cool, procedural nature of these disciplined characters treating their grim professions with calculating precision and cold-hearted professionalism. But in a genre that's become diluted with such tropes, Michael Fassbender brings a different brand of assassin to life—one that emphasizes hipster tendencies beneath a nihilistic shell. With a focus on realism juxtapose with cynical narration, the film pushes a dour worldview lacking in emotion and compassion. It has the effect of portraying a try-hard character navigating a razor-thin plotline established in post-modern genre deconstruction—it's a movie that spits in the candy-coated faces of James Bond and Agent 47, and I strongly suspect it's intended to reflect the troubling aggression and disillusionment of modern men. It's not a pretty picture, and with ample amounts of negative space many will peg this as droll. The style and character fascinates me though, far more than most other schlock that's come out this year.
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3 - Nimona
You see this, Disney? You buncha hacks. This could have been your beautiful animated masterpiece of the year, but noooooo, you had to go and scrap Blue Sky Studios and pump out stupid baloney like Wish. Well guess what? Nimona came back from the grave baby, reanimated by Annapurna, and it is doing everything you failed to do, with real guts and spirit. You used to be the kings of animation, but nowadays you couldn't even greenlight a decent story if it waved dollar bills in your face. This is everything you could have been, but the mighty have fallen. This is your own grave you're digging, Disney. I hope you like the taste of dirt.
At any rate, Nimona is pretty good, sure. It runs hot and heavy with its chase-driven plotline, pushing plenty of cartoony shenanigans for most of its runtime. Thankfully, the characters breathe life into the story, invoking genuine sympathy by its eye-popping finale. There is a daring approach in how it challenges the status quo (not only in pushing one or two gay characters, but in the classic flip-flop of sympathizing with monsters and villainizing forces of "good"). It helps that the film is slickly animated with style and vivid colors, but it only serves to highlight the colors already blazing from the cast. By its end, I had fallen in love with the film's unique world, the spirited experience, and Nimona herself.
At any rate, Nimona is pretty good, sure. It runs hot and heavy with its chase-driven plotline, pushing plenty of cartoony shenanigans for most of its runtime. Thankfully, the characters breathe life into the story, invoking genuine sympathy by its eye-popping finale. There is a daring approach in how it challenges the status quo (not only in pushing one or two gay characters, but in the classic flip-flop of sympathizing with monsters and villainizing forces of "good"). It helps that the film is slickly animated with style and vivid colors, but it only serves to highlight the colors already blazing from the cast. By its end, I had fallen in love with the film's unique world, the spirited experience, and Nimona herself.
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2 - Oppenheimer
Who would have thought that one of the best and highest-grossing films of the year would be a biopic about the theoretical physicist who directed the Manhattan Project? It's likely a case of a film being in the right place at the right time—not only juxtapose to Barbie's release, prompting plenty of amusing "Barbenheimer" memes, but mostly because this film came out in a time when blockbusters have become trite and overblown. Sometimes we're just sick and tired of seeing hundreds of millions thrown at contrived scripts, tired franchises, and effects-laden spectacles. Sometimes we need a straightforward drama to tell a simple, human story. It just so happens that Mr. Death-The-Destroyer-Of-Worlds fits this gap rather snugly.
It helps though that Christopher Nolan crafted this film with a keen eye for detail, in both its pristine photography and its snappy editing. There is some flexing with the narrative layers, reinforced with the use of black-and-white scenes, but it's rarely convoluted. Cillian Murphy's emotional yield must have exceeded five megatons, producing a blast of presence that can still be seen even through the eyelids. The rest of the cast populates the film with decent skill. The production looks swell and even the music score is solid.
It's the film we need and deserve, harkening back to days when dramas like The Godfather or JFK could pull a large audience on genuine cinematic merits. Oppenheimer is simply a good film, but in an age when superheroes and franchises have overrun Hollywood, it is also a blast of fresh air. Fresh, hot, nuclear air. Air to be afraid of.
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1 - Poor Things
"pour tiNgs...Wat a moovi.
Hehehe...it funny how tat girl stompz arond Sayz funny things. And tha old man burps up bubbles.
Its like Frankenstein, innit? Altho these blak-and-white bits ar funny, like Spider Baby.
Than, the girl goes with the guy on an adventur. It starts to be Wes-Anderson-like, with all them funny-looking sets.
Hehehe, the dance scene is funny. And that bit where she wants to punch a baybe.
As the film goes on, it has less sexy scenes, don't it? But we can see the woman's learning. Starts to talk all fancy, then the bloke gets mad about it. There's something going on with her, isn't it?
Ah, I see how it is. It's not the same adventure as these other films. It's the adventure of life, to go from living for pleasure to learning. From learning to empathy. Then to experience and rediscovering the past.
It's an absurd premise that's often funny because of how Bella's growing mind clashes with the world at large. But beyond the laughter and shock value, Bella's journey brings an insightful view of the world and all its pleasures and pain. Her thirst for experience and trajectory towards the punchline ending tracks along a natural learning curve that we all experience, swaying from juvenile hedonistic impulses to intellectual thirst (and even some combination of both). Leave it to Yorgos Lanthimos to lead us on this bizarre journey, through so many fish-eye lenses and eye-popping scenery, layering each scene with equal parts comedy, dramatic weight, and surrealism. Emma Stone brought Bella to life in a remarkable way, in a performance that shows attention to both physical and emotional nuances. The rest of the cast keeps pace with the mad world, with special compliments to Mark Ruffalo, Willem Dafoe, and Ramy Youssef. This production boasts impressive set design, vivid photography, a delightfully weird music score, and quaint special effects. It is a marvelous-looking film that elicits visceral reactions through its more grotesque details, but it tells a fascinating story of maturity and worldly experience that shows more humanity than the average monster movie.
...tehehe...the final scene was funny...
Hehehe...it funny how tat girl stompz arond Sayz funny things. And tha old man burps up bubbles.
Its like Frankenstein, innit? Altho these blak-and-white bits ar funny, like Spider Baby.
Than, the girl goes with the guy on an adventur. It starts to be Wes-Anderson-like, with all them funny-looking sets.
Hehehe, the dance scene is funny. And that bit where she wants to punch a baybe.
As the film goes on, it has less sexy scenes, don't it? But we can see the woman's learning. Starts to talk all fancy, then the bloke gets mad about it. There's something going on with her, isn't it?
Ah, I see how it is. It's not the same adventure as these other films. It's the adventure of life, to go from living for pleasure to learning. From learning to empathy. Then to experience and rediscovering the past.
It's an absurd premise that's often funny because of how Bella's growing mind clashes with the world at large. But beyond the laughter and shock value, Bella's journey brings an insightful view of the world and all its pleasures and pain. Her thirst for experience and trajectory towards the punchline ending tracks along a natural learning curve that we all experience, swaying from juvenile hedonistic impulses to intellectual thirst (and even some combination of both). Leave it to Yorgos Lanthimos to lead us on this bizarre journey, through so many fish-eye lenses and eye-popping scenery, layering each scene with equal parts comedy, dramatic weight, and surrealism. Emma Stone brought Bella to life in a remarkable way, in a performance that shows attention to both physical and emotional nuances. The rest of the cast keeps pace with the mad world, with special compliments to Mark Ruffalo, Willem Dafoe, and Ramy Youssef. This production boasts impressive set design, vivid photography, a delightfully weird music score, and quaint special effects. It is a marvelous-looking film that elicits visceral reactions through its more grotesque details, but it tells a fascinating story of maturity and worldly experience that shows more humanity than the average monster movie.
...tehehe...the final scene was funny...
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Favorite film: Poor Things
Least favorite film: Skinamarink
Favorite blockbuster: Oppenheimer, technically
Favorite arthouse film: Poor Things
Favorite science fiction film: Guardians of the Galaxy Volume 3
Favorite fantasy/epic: Nimona
Favorite drama film: Oppenheimer
Favorite action film: John Wick Chapter 4
Favorite thriller: The Killer
Favorite superhero film: Guardians of the Galaxy Volume 3
Favorite comedy film: Poor Things
Favorite horror film: M3GAN
Favorite documentary: RoboDoc: The Creation of RoboCop
Favorite animated/family film: Nimona
Favorite foreign film: Godland
Biggest guilty pleasure: Operation Fortune: Ruse De Guerre
Most disappointing film: Skinamarink
Favorite male performance: Cillian Murphy in Oppenheimer
Favorite female performance: Emma Stone in Poor Things
Favorite direction: Yorgos Lanthimos, Poor Things
Favorite action scenes: John Wick Chapter 4
Favorite special effects: Guardians of the Galaxy Volume 3
Favorite film score: Ludwig Göransson's score for Oppenheimer
Favorite musical sequence: The weird dance scene from Poor Things
Favorite superhero film: Guardians of the Galaxy Volume 3
Favorite comedy film: Poor Things
Favorite horror film: M3GAN
Favorite documentary: RoboDoc: The Creation of RoboCop
Favorite animated/family film: Nimona
Favorite foreign film: Godland
Biggest guilty pleasure: Operation Fortune: Ruse De Guerre
Most disappointing film: Skinamarink
Favorite male performance: Cillian Murphy in Oppenheimer
Favorite female performance: Emma Stone in Poor Things
Favorite direction: Yorgos Lanthimos, Poor Things
Favorite action scenes: John Wick Chapter 4
Favorite special effects: Guardians of the Galaxy Volume 3
Favorite film score: Ludwig Göransson's score for Oppenheimer
Favorite musical sequence: The weird dance scene from Poor Things
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2024 Films Al Is Looking Forward To
Drive-Away Dolls: Putting my trust in one of the Coen Bros on this one. The premise sounds like a Thelma and Louise type of story, which I'm totally cool with.
Dune Part Two: Kind of a cheat to post this now, because I saw it last Friday and it was everything I could ask for from a Dune sequel. I knew my man Denis Villeneuve would follow through with a fantastic continuation that rounds off the first novel faithfully. Pretty hot contender for film of the year next year, it's a high bar to clear right now.
Furiosa: A Mad Max Saga: Sure, I guess? Would have preferred a direct sequel to Fury Road, but I understand that something about this property is sticky and capitalizing off of the most popular female character is probably a wise move for Warner Bros. Should be amazing with Miller's direction, but I'm hoping it doesn't come off as a shallow cash-grab.
Ghostbusters: Frozen Empire: Should have seen this coming after Afterlife. I think I was generous towards the last movie because of the heart it showed with Egon and such, but this whole reboot could fall flat in this entry. Not sure I buy the idea that the supernatural somehow freezes New York, much less that the Ghostbusters are the people to combat that kind of threat. But whatever, I'll give it a shot.
Gladiator II: What? Why this, why now, all of the suddenly? And considering that the characters all died in the first movie, what will this be, another 300: Rise of an Empire thing? I mean, sure, I'll give it a shot. It sounds like Ridley Scott really blew through the budget on this one, and I've heard that he produced a heck of a spectacle. Could be solid, but my expectations are tempered.
Kingdom of the Planet of the Apes: We had a good run with the last trio of films, so I'm cautiously optimistic. For all that goes, I've enjoyed all the Apes films, even the bad ones, so this should be right up my alley no matter what.
Twisters: What? Why this, why now, all of the suddenly? Chances are that this could suck, since we've seen plenty of other cash-grab sequels that have fallen flat. But I liked the first film too much to ignore a potential sequel.
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